It’s a win-win for Levine, in every way: The more money collectors come to pay for her precious bronzes, the better those works will come to stand for our abandonment of the true principles behind the original “Fountain”. The differences between her two versions point to Duchamp’s original embrace of swappable industrial objects, but those differences also morph into the variations-on-a-theme that the market loves to sell. And one final wrinkle: It looks as though Levine’s sculptures are cast from actual urinals, rather than from some version of Duchamp’s “Fountain,” which makes them both closer to and further from their Duchampian source.